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Green and genial: Visions and versio...

Holbrook, Zachary.

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Green and genial: Visions and versions of Huntian pastoral.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Green and genial: Visions and versions of Huntian pastoral./
Author:	Holbrook, Zachary.
Description:	201 p.
Notes:	Source: Dissertation Abstracts International, Volume: 71-07, Section: A, page: 2468.
Contained By:	Dissertation Abstracts International71-07A.
Subject:	English literature. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3408278
ISBN:	9781124043104

Green and genial: Visions and versions of Huntian pastoral.
Holbrook, Zachary.

Green and genial: Visions and versions of Huntian pastoral. - 201 p.

Source: Dissertation Abstracts International, Volume: 71-07, Section: A, page: 2468.

Thesis (Ph.D.)--New York University, 2010.

This item is not available from ProQuest Dissertations & Theses.

Literary critics interested in Romantic pastoral, such as Annabel Patterson and Paul Alpers, have usually looked to Wordsworth to define the genre for the period. They have ascribed to him the reinvention of Virgil's genre for the nineteenth century and beyond even as they have shown his fidelity to certain norms of Virgilian pastoral: it puts poetic speech in the mouths of country folk; it mediates the woes of human life---personal loss, erotic disappointment, and the necessity of labor---through bucolic scenes of mirth and melancholy; in the poet's own conception of his growth, it represents an indispensable but lesser phase. Wordsworth joins elements of Virgilian pastoral to his Enlightened "system" of poetry, the metaphysical and didactic entity that emerged over the course of his career. By writing poetry that looks back to what he perceives as pastoral's roots in Virgil's Eclogues while avoiding the purely superficial trappings of pastoral the classicizing poets of the previous century employed, Wordsworth radically transforms pastoral. If there is such a thing as "modern" pastoral, Wordsworth discovered it.

ISBN: 9781124043104Subjects--Topical Terms:

516356
English literature.

Green and genial: Visions and versions of Huntian pastoral.
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100 1 $a Holbrook, Zachary. $3 3177264
245 1 0 $a Green and genial: Visions and versions of Huntian pastoral.
300 $a 201 p.
500 $a Source: Dissertation Abstracts International, Volume: 71-07, Section: A, page: 2468.
500 $a Adviser: Maureen N. McLane.
502 $a Thesis (Ph.D.)--New York University, 2010.
506 $a This item is not available from ProQuest Dissertations & Theses.
520 $a Literary critics interested in Romantic pastoral, such as Annabel Patterson and Paul Alpers, have usually looked to Wordsworth to define the genre for the period. They have ascribed to him the reinvention of Virgil's genre for the nineteenth century and beyond even as they have shown his fidelity to certain norms of Virgilian pastoral: it puts poetic speech in the mouths of country folk; it mediates the woes of human life---personal loss, erotic disappointment, and the necessity of labor---through bucolic scenes of mirth and melancholy; in the poet's own conception of his growth, it represents an indispensable but lesser phase. Wordsworth joins elements of Virgilian pastoral to his Enlightened "system" of poetry, the metaphysical and didactic entity that emerged over the course of his career. By writing poetry that looks back to what he perceives as pastoral's roots in Virgil's Eclogues while avoiding the purely superficial trappings of pastoral the classicizing poets of the previous century employed, Wordsworth radically transforms pastoral. If there is such a thing as "modern" pastoral, Wordsworth discovered it.
520 $a But there is another, neglected narrative of pastoral in the nineteenth century, and an underappreciated account of it is to be had from one of the major players of the period. My project centers on Leigh Hunt, leader of the so-called Cockney School, who locates the best pastoral in pre-Virgilian, Hellenistic poets---especially Theocritus, but also Bion and Moschus---while also prizing eighteenth-century works in native pastoral like Allan Ramsay's Gentle Shepherd and the poems of Robert Burns. Hunt's ideas about pastoral were present as early as Foliage (1818), but his most extensive exploration of the genre comes with A Jar of Honey from Mount Hybla, a work published in the middle of the century. In it, he half-articulates, through his selections of pastoral poetry and explications of them, a different version of pastoral, one without duty to precedent (classical or neoclassical), to the poet's future, or to the embedded representations of woe found in Virgil and Wordsworth. Instead, pastoral means imaginative autonomy. Hunt draws on many different poems for his examples, but they all partake of the same phenomenon, the creation of a non-urban space in which the poet is free to redefine the boundaries that have shaped his or her own experience, including those of language, literary history, and geography. The titular jar, which contains the sweets of Sicily and proffers them to Hunt in England, is the metaphorical vehicle for this process, its contents the concentrated gleanings of the imagination at play, the vessel itself the mold of the poet's redefinition. Huntian pastoral resists the process of subordination that Wordsworthian pastoral undergoes when it is forced into a metaphysical "system," a nineteenth-century adaptation of the Virgilian career path; Hunt's conception of pastoral is at once smaller, because it resists Wordsworth's totalizing impulse, and larger, because its central feature is the expansive play of the poet's imagination. That pastoral so often fails is not because, as eighteenth-century critics of pastoral like Samuel Johnson would have us believe, the genre itself is insipid, but because writers fail to grasp its central demand, the necessity of using the imagination to create a space defined, not by classical precedent, but by the author's own intellectual and aesthetic mold. As Stuart Curran writes while struggling to define pastoral in Poetic Form and British Romanticism, pastoral is the most protean of genres. Hunt would agree. Pastoral, the genre, is hard to define because individual pastorals take autonomous shapes.
520 $a My work in this project is not merely to describe or infer what Hunt meant when writing about pastoral, but to pick up where Hunt left off. He only half-elucidates his version of pastoral; the nature of his project was, like the nature of pastoral writing itself, a kind of gleaning of the best pastorals from England and Italy. In presenting his alternative genealogy of the genre, he anthologizes and narrates, but does not approach the generic question itself with critical rigor. Nevertheless, his work reveals a moment of unfamiliar and interesting instability in the nineteenth-century life of genres. I will show how Hunt's disparate-seeming examples are of a piece with the governing metaphor of A Jar of Honey, and how twenty-first century critics can use the same conceit to arrive at a radically different kind of Romantic pastoral from the one we find in Wordsworth. I will also extend his treatment, which ends in the middle of the eighteenth century, closer to Hunt's own time, showing how the version of pastoral in which Hunt believed was not merely a fancy, but a phenomenon, one that had appealed to other contemporaries like Keats, Shelley, and John Clare.
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